Life of Mozart

———;206 " DON GIOVANNI."elements, in all their force of energy and truth, are combinedinto an harmonious and comprehensive whole.As regards the dramatic force and reality of the situations,especially in the ensembles, "Figaro" has the advantageover " Don Giovanni." The introduction to the first act isadmirably planned, both musically and dramatically ; in thequartet (Act I., 8) and terzet (Act II., 2) the situation and-prevailing tone are simple, but well chosen and sustainedand the idea of giving Don Giovanni and Leporello a sharein Elvira's first air (Act I., 3),is productive of excellenteffect. The sestet (Act II., 6), on the other hand, is veryloosely put together; the characters are grouped roundLeporello suitably enough, it is true, but their encounter isnot the natural result of the situation, and the climax is apurely external one. The finales in "Don Giovanni" areindeed far superior to the ordinary run, which even in goodoperas often consist of loosely strung scenes which mightjust as well be spoken as sung, but they are inferior to thewell-combined, consistent development of the plot whichdelights us in the finales in "Figaro." The first finalebegins in lively style with the quarrel between Masetto,whose jealously is newly awakened, and the terrified Zerlina,who seeks to avoid an outbreak. The insidious everrecurringmotif for both voice and orchestrain contrast with the quickly uttered notes and sharp accentsof anger, is highly expressive of suspicion. Suggestive inanother way are the beating notes for the trumpetswhich are interposed in Masetto's speech, and afterwardstaken up by the flutes:?- q-- rp-:^